But releasing the key applies a damper to the fork, which mutes it more quickly. Once the fork is activated, it will continue to resonate on its own for a long time. The sound of the resonating tone bar is then amplified by a pickup and sent to the output. The mallet strikes the tine, causing it to vibrate, which causes the tone bar to resonate at a specific pitch. The fork has two parts: the tine and the tone bar. When a note on the keyboard is struck, a mallet hits a fork.
Electric integrates beautifully into Ableton Live's workflow and brings the unmistakable classic sounds of these instruments to Live users.Įlectric pianos have several components that interact to create the sound of the instrument. You can also go far beyond the capabilities of the originals and create amazing new sounds while still retaining the warm qualities of an electric piano. Because the sounds are synthesized, not sampled, it's possible to quickly tweak each component and customize the instrument to your personal taste. Physical modeling synthesis uses complex mathematics to reproduce the behavior of the individual physical components of an instrument–in this case the mallets, tines, pickups, dampers and other parts that interact to produce the unique sounds of electric pianos–all in real time. Electric was created in collaboration with Applied Acoustics Systems (AAS) and is based on the same advanced physical modeling synthesis technology found in their acclaimed Lounge Lizard instrument. Electric: Piano DreamsĮlectric is a synthesizer that reproduces the authentic sound of the Rhodes® and Wurlitzer® electric pianos. Electric is an advanced physical modeling synthesizer, allowing you to dive inside and play with the guts of the instrument–the mallets, tines, pickups and more–to achieve just that right amount of melancholy or bark and bite. W.Electric offers the much sought-after sounds of classic electric pianos. Woodfill: Musicians in English Society from Elizabeth I to Charles I, (Princeton, NJ, 1953) Musica Antiqua's collection includes a replica by Moeck Additional Resources: Refer to the serpent page to see the bass of the cornett family. A Lyserden is listed in the waits' band of Exeter in 1575 and a lysarden appears in the inventory made in 1602 of the instruments at Hengrave Hall, Suffolk, that belonged to Thomas Kytson. It blends well with voices and plays on one of the inner voices of an ensemble. The lizard's tone is pleasing, yet rather foggy. The holes for each hand happen to be in the portion of the curves which are closest to the player.
Besides giving the instrument its name, this shape helps the player cover the finger holes on this longer zink. The tenor of the zink family (also known as lysard or lysarden) has the peculiar curved shape of a flattened letter s. Click on image for lizard sound (104 kb wav)
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